The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
To provide context for non-object art in Peru, researcher Hugo Salazar del Alcázar briefly cites theorist Juan Acha. Salazar del Alcázar is critical, however, in his description of a scene that in no way partakes of the avant-garde enthusiasm Acha envisioned for “a Peruvian conceptual [art]” to come. In the author’s view, non-object art proposals are weak in the country due to political and economic factors, as well as the attitude of the artists themselves, at two crucial moments (1965–75 and 1975–80). Artists’ stance on non-object art was, in the critic’s view, marked by inconsistency, “indifference, dilettantism, and narcissism.” As an appendix, Salazar del Alcázar provides a chart outlining the development of non-object art in Peru on the basis of a lecture that art critic Alfonso Castrillón delivered in Medellín, Colombia in 1981.
This rigorous essay by critic and researcher Hugo Salazar del Alcázar provides an overview of non-object art in Peru from the time it first emerged through 1983, while also offering a unique reflection on the period as a whole.
While the bulk of poet, researcher, writer, social communicator, and cultural commentator Hugo Salazar del Alcázar’s work dealt with Peruvian theater, he also addressed the visual arts and its phenomenology. A contributor to a number of journals and art publications, he was one of the first figures in Peru to write on the kitsch as a means to understand the relationship between mass culture and the urban aesthetic that developed amongst migrant groups in contemporary Peru. Though not an artist in the strict sense of the word, he formed part of collectives like Signo x Signo (1979–81).
[For additional information, see the following articles by Hugo Salazar in the ICAA digital archive: “Kitsch, cultura y sociedad” (doc. no. 1142948), “El kitsch sexual: 2 objectos” (doc. no. 1142964), and “El kitsch erótico” (doc. no. 1142917)].